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I'm Deniz Beyazit, I'm one of the curators in the Islamic art department, and my topic is "Eyes."
I'm originally from Turkey, but I grew up in Switzerland, in Northern Europe. Since I can remember, people were always struck by my eyes, because they thought they were big and expressive, and probably because they're not used to Near Eastern eyes.
The eye has an importance in my culture. The evil eye. It's the protection of the bad look, of jealousy, of something bad which would happen. Close to the evil eye in ancient culture is the Eye of Horus.
I was always impressed by all the ancient Greek sculptures, their look, to me they just stare into emptiness. Now I know that they
actually should have eyes. And in some cases you can see the traces of the eyes, which have been painted.
In other cases they are just holes and there the eyes were inlaid in a different material, but this shows me that
without eyes, the sculpture has lost its expressivity. I mean
I think the eye contact is very important. If you talk to someone and he's just
ignoring you, he doesn't look into your eyes, you will get insecure.
Eyes can tell a lot about a person. Someone who is sad, you can see the tears in the eyes. Or a look of rage
where Medea is represented. Her spouse, Jason, betrayed her, cheated on her. In her emotion, she killed their children. In her eyes, in her look, she has so much tension, so much fear. She is really lost. She doesn't know what happened, she regrets, and all that is expressed in her eyes.
Eyes also express beauty. In a photograph of a woman she highlights her eye, so the one who looks at the photograph has to look there, and she herself has to look through that hole, so there is communication. And that's why I like, also
the miniature. You actually don't know to which person that belongs, but it's obvious it's a female eye, because it's a very sensual look. You can see the curly hair. To me this shows beauty, but it also shows a secret hiding behind that look, which the beloved of someone can carry.
The veil is something which is very common in my culture, and so I think it's something very natural.
When something is veiled, the part which is visible gets much more attention: the face and the eyes. It can be something very beautiful
something very feminine, very elegant, very sensual. They hide, but they also show something, actually.
There is another level where eyes become spiritual. Jesus Christ, his eyes are not really looking at us, they have something calm, something eternal, and to me the same is true when you look at
this head of a Sassanian king, where again he's not looking at us. He looks like if someone had hypnotized him. Without that look, I think the whole sculpture would lose strength and its real eternal power.
Eyes express so much of a personality, they can talk without words. It can be the shining of an eye.
In that sense, it's the first communication I have with someone. I look into the eyes. If I get a good energy
from a look of someone, I trust in that.
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Works of art in order of appearanceLast Updated: June 22, 2015. Not all works of art in the Museum's collection may be on view on a particular day. For the most accurate location information, please check this page on the day of your visit. |
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Faience Wedjet-eye amulet ca. 1090–900 b.c.; Third Intermediate Period Egyptian Clay, glazed The Cesnola Collection, Purchased by subscription, 1874–76 (74.51.4526) More information: The Collection Online Not on view
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Statuette of a votary, male ca. 640–380 b.c.; Cypriot Limestone The Cesnola Collection, Purchased by subscription, 1874–76 (74.51.2458) More information: The Collection Online Not on view
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Limestone head of a wreathed youth 4th century b.c.; Cypriot, Classical Limestone The Cesnola Collection, Purchased by subscription, 1874–76 (74.51.2791) More information: The Collection Online Not on view
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Standing male worshipper 2750–2600 b.c.; Early Dynastic period II; Sumerian style Excavated at Tell Asmar (ancient Eshnunna), central Mesopotamia Alabaster (gypsum), shell, black limestone Fletcher Fund, by exchange, 1940 (40.156) More information: The Collection Online Not on view
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Head from the figure of a woman ca. 2700–2500 b.c.; Early Cycladic I–II Cycladic; Keros-Syros culture Marble Gift of Christos G. Bastis, 1964 (64.246) More information: The Collection Online Not on view
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[Self-portrait on Roof of 441 East 92nd Street, New York City] 1936–41 Walker Evans (American) Film negative Walker Evans Archive, 1994 (1994.253.402.1) More information: The Collection Online Not on view
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[Self-portrait on Roof of 441 East 92nd Street, New York City] 1936–41 Walker Evans (American) Film negative Walker Evans Archive, 1994 (1994.253.402.2) More information: The Collection Online Not on view
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[La Comtesse "in despair" with Kerchief to Face] 1861–67 Pierre-Louis Pierson (French) Albumen silver print from glass negative David Hunter McAlpin Fund, 1975 (1975.548.260) More information: The Collection Online Not on view
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Medea 18th century Charles-Antoine Coypel (French); formerly attributed to Charles Le Brun (French) Pastel Harris Brisbane Dick Fund, 1953 (1974.25) More information: The Collection Online Not on view
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[Game of Madness] 1861–67, printed ca. 1930 Pierre-Louis Pierson (French) Gelatin silver print from glass negative Gilman Collection, Gift of The Howard Gilman Foundation, 2005 (2005.100.198) More information: The Collection Online Not on view
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Eye of Maria Miles Heyward ca. 1802 Edward Greene Malbone (American) Watercolor on ivory set in a gold ring Dale T. Johnson Fund, 2009 (2009.243) More information: The Collection Online Not on view
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Women of Allah: From Way In Way Out portfolio (published 1996) 1994 Shirin Neshat (American, born Iran) Pen and ink on photograph Purchase, Reba and Dave Williams Gift, 1997 (1997.129.8) More information: The Collection Online Not on view
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Statuette of a veiled and masked dancer 3rd–2nd century b.c.; Hellenistic Greek Bronze Bequest of Walter C. Baker, 1971 (1972.118.95) More information: The Collection Online Not on view
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Head of Christ second half 14th century Master of the Orcagnesque Misericordia (Italian) Tempera on wood, gold ground Gift of The Jack and Belle Linsky Foundation, 1981 (1981.365.2) More information: The Collection Online Not on view
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Head of a king 4th century; Sasanian period Iran Gilded silver Fletcher Fund, 1965 (65.126) More information: The Collection Online Not on view
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Head of Krishna ca. 1800 Attributed to Sahib Ram India (Rajasthan, Jaipur) Cartoon for a mural depicting the Rasalila (Circle dance of Krishna and the gopis) Ink and watercolors on paper Rogers Fund, 1918 (18.85.2) More information: The Collection Online Not on view
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Pair of eyes 5th century b.c. or later Probably Greek Bronze, marble, frit, quartz, and obsidian Purchase, Mr. and Mrs. Lewis B. Cullman Gift and Norbert Schimmel Bequest, 1991 (1991.11.3a, b) More information: The Collection Online Not on view
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